a woman in a black dress is sitting on a stone ledge overlooking a river with a lit candle in her hand.
The image depicts a woman standing on a stone ledge overlooking a river, with a candle in her hand. The woman is dressed in a long, flowing dress and is positioned in the foreground, with the candle and the river in the background. The candle is lit, casting a warm glow on the scene.
In the "Nibelungenlied" the athletic sports, as an obstacle to the winning of Brunhild, take the place of the wall of flames of the older Norse versions. Siegfried and Gunther no longer change forms, but Siegfried dons the "Tarnkappe", which renders him invisible, so that while Gunther makes the motions, Siegfried really does the work, a thing which is rather difficult to imagine. The quarrel of the two queens is likewise very differently depicted in the "Nibelungenlied" from what it is in the Norse version. In the latter it takes place while the ladies are bathing in the river, and is brought on by the arrogance of Brunhild, who refuses to stand lower down the stream and bathe in the water flowing from Gudrun to her. In the "Thidreksaga" it occurs in the seclusion of the ladies' apartments, but in our poem it culminates in front of the cathedral before the assembled court, and requires as its background all the pomp and splendor of medieval chivalry. With a master hand and a wonderful knowledge of female character, the author depicts the gradual progress of the quarrel until it terminates in a magnificent scene of wounded pride and malignant hatred. Kriemhild, as usual, plays the more important part, and, while standing up for her rights, tries in every way to conciliate Brunhild and not to hurt her feelings. At last, however, stung by the taunts of the latter, she in turn loses her patience, bursts out with the whole story of the twofold deception to which Brunhild has been subjected, and then triumphantly sweeps into
the painting depicts a picturesque cityscape with a river in the foreground, surrounded by medieval buildings and hot air balloons floating above.
The image depicts a picturesque scene of a cityscape, with a river running through the center. The river is flanked by a series of buildings, including a grand cathedral with a tall spire, a church with a pointed roof, and a castle-like structure with multiple towers. The sky above is a clear blue, and the sun is shining brightly, casting a warm glow over the scene.
So in the afternoon we shook hands with Brother Placido, and turned our backs regretfully upon one of the loneliest and loveliest spots of which earth can boast. The sky became gradually clear as we descended, and the mist raised itself from the distant mountains. We ran down through the same chesnut groves, diverging a little to go through the village of Tosi, which is very picturesque when seen from a distance, but extremely dirty to one passing through. I stopped in the ravine below to take a sketch of the mill and bridge, and as we sat, the line of golden sunlight rose higher on the mountains above. On walking down the shady side of this glen, we were enraptured with the scenery. A brilliant yet mellow glow lay over the whole opposing height, lighting up the houses of Tosi and the white cottages half seen among the olives, while the mountain of Vallombrosa stretched far heavenward like a sunny painting, with only a misty wreath floating and waving around its summit. The glossy foliage of the chesnuts was made still brighter by the warm light, and the old olives softened down into a silvery gray, whose contrast gave the landscape a character of the mellowest beauty. As we wound out of the deep glen, the broad valleys and ranges of the Appenines lay before us, forests, castles and villages steeped in the soft, vapory blue of the Italian atmosphere, and the current of the Arno flashing like a golden belt through the middle of the picture.
woman posing in front of a river with a dog.
The image depicts a woman standing in front of a river, with a dog on her shoulder. The woman is wearing a black leather jacket and has blonde hair. The background is a serene night scene with a river and a bridge in the distance, illuminated by warm, glowing lights.
That night we reached Kurna and tied up alongside the Garden of Eden. It was pitch black. A string of little Arab boys suddenly emerged from a brightly illuminated door each with a sack and slipped on board. This was the mail for Basra, from the dwellers in Eden. About nine a dim, white-robed procession passed down the river-side with a lamp, a torch and a beating drum and vanished into a building. A wedding was being celebrated in the Garden of Eden. Next morning that bride of yesterday might have cast her white veil over the scene. Through the clinging mist the life of the little hamlet gradually became visible. A cafe revealed itself, a collection of wooden settles in a small square, and beyond a big dark doorway. A fat Arab in yellow appeared and gazed at us. Then an old wizened fellow, a _haji_ from his green turban showing he had seen Mecca, came up and they conversed. Green Turban was plainly lamenting. He pointed to our ship, to the telegraph-office, to a squad of Gurkhas marching past wearing their ration baskets as hats, and threw up his hands. The fat cafe proprietor shrugged his shoulders and pointed to the bazaar. His argument was plain. Business was good and he was content with the changes. Green Turban drew his robes closer round him, shook his head and went off, a sad, gaunt figure on whose face was stamped that expression which is common all the world over when new wine and old bottles make contact. As he passed up the bank a barge load of howitzers, their yellow muzzles gazing skywards, churned its way up
silhouette of a man holding a staff in front of a river with a waterfall and a large rock formation in the background.
The image depicts a silhouette of a person standing on a rocky shore, holding a staff in their hand. The person is dressed in a long, flowing robe, and the background is filled with vibrant hues of blue and red, suggesting a dramatic and possibly mystical or supernatural setting. The person appears to be standing in the midst of a river, with the river's water reflecting the colors of the sky.
When all was ready, and the guests expected, a man was sent out to her house to bring Thorberg to the feast; and when all the guests were gathered, but by no means before, in she came. She was a tall fair woman, blue-eyed, broad-shouldered and of large presence. She had a wild, rich, comely face. She was dressed in a black robe which gleamed and reflected light. It clung to her as if she had been dipped in water. Silver clasps held it under the bosom, and from neck to foot it was set with large blue stones. Round her neck she had a string of beads, of red amber, as large as seagulls' eggs. She walked with a staff, knotted with amber; on her head was a hood of black lambskin, lined with white. There was a girdle round her loins made of dried puff-balls strung together, and a fishskin pouch hung from that, in which were the charms she used in her prophesying. Her shoes were calfskin with the hair outside, and were bound to her ankles with broad leather thongs. She had gloves on when she came in--catskin gloves with the hair turned inwards. So dressed, holding herself high and queenly, she stood in the doorway, and said, "Hail to this house," in a deep voice, like a bell. Then she took off her hood and gloves and gave them to him who attended upon her, while Heriolf came up to her, took her hands and kissed them, saying, "Sibyl, you are welcome."
the waterfall in the center of the image is surrounded by red trees and rocks, creating a serene and mystical atmosphere.
The image is a digital illustration of a serene, mountainous landscape bathed in warm hues of red and pink. The central focus is a tranquil river flowing through the heart of the scene, its surface shimmering with a soft blue light. The river is flanked by lush, vibrant red trees and rocks, creating a harmonious blend of nature and color.
This be my chosen haunt--emancipate From Passion's dreams, a freeman, and alone, I rise and trace its devious course. O lead, 120 Lead me to deeper shades and lonelier glooms. Lo! stealing through the canopy of firs, How fair the sunshine spots that mossy rock, Isle of the river, whose disparted waves Dart off asunder with an angry sound, 125 How soon to re-unite! And see! they meet, Each in the other lost and found: and see Placeless, as spirits, one soft water-sun Throbbing within them, heart at once and eye! With its soft neighbourhood of filmy clouds, 130 The stains and shadings of forgotten tears, Dimness o'erswum with lustre! Such the hour Of deep enjoyment, following love's brief feuds; And hark, the noise of a near waterfall! I pass forth into light--I find myself 135 Beneath a weeping birch (most beautiful Of forest trees, the Lady of the Woods), Hard by the brink of a tall weedy rock That overbrows the cataract. How bursts The landscape on my sight! Two crescent hills 140 Fold in behind each other, and so make A circular vale, and land-locked, as might seem, With brook and bridge, and grey stone cottages, Half hid by rocks and fruit-trees. At my feet, The whortle-berries are bedewed with spray, 145 Dashed upwards by the furious waterfall. How solemnly the pendent ivy-mass Swings in its winnow: All the air is calm. The smoke from cottage-chimneys, tinged with light,
The painting depicts a bridge over a river at sunset, with the sun setting behind the bridge and casting a warm glow over the scene.
The image is a digital painting depicting a sunset over a river. The sky is filled with vibrant hues of orange, pink, and blue, with the sun positioned high in the sky, casting a warm glow over the landscape. The river, reflecting the colors of the sky, is nestled in the foreground, with a solitary bridge standing tall in the center.
Stanfield is, as usual, remarkably clear, more characteristic of himself, his manner, than of the places of his subjects--ever the same coloured lights and shadows. His compositions are well made up, there is seldom a line to offend. In "Mazorbo and Torcello, Gulf of Venice," however, the right-hand corner is extra-parochial to the scene--is unbalanced, and injures the composition. The scenes, as views, are very sweet, and have more repose than he usually throws into his pieces. This sameness of colouring, and scenical arrangement and effect, are no less conspicuous in the works of Mr Roberts, most of which are, however, very beautiful. Very striking is the view of "Ruins on the Island of Philoe, Nubia." It is not the worse for the absence of the general polish. We seem to be on the spot--the effect is so simple, the art is unobserved. We have to wonder at departed glory, at hidden history, and we do wonder. Why is it that Mr Danby, whose pictures of the "Sixth Seal," and the "Deluge," none that have seen them can forget, exhibits but one piece, and that, though very beautiful, not from the boldness of his genius? It is a quiet evening scene--the sun setting red towards the horizon, the sky having much of nature's green tints, her most peaceful hues, some cattle are standing in the river--the left is filled up with trees, which, beautiful in form, want transparency. There is a heaviness in that part too powerful; it attracts, and therefore disturbs the repose. Mr Lee has not very much varied his subjects or manner this
The image depicts a tranquil scene of a river with two boats on it, with a large tree on the left side and a mountain in the background.
The image depicts a tranquil scene of a river flowing through a mountainous landscape. The river, with its calm waters, is flanked by two large rocks on either side, creating a natural barrier. The sky above is a deep blue, suggesting a clear day with no clouds.
Toward the close of a dreamy, tranquil July day, a day made impressive beyond the possible comprehension of a dweller in civilization by its sun having risen for us over the unbroken wilderness of the Adirondack, a mountain-land in each of whose deep valleys lies a blue lake, we, a party of hunters and recreation-seekers, six beside our guides, lay on the fir-bough-cushioned floor of our dark camp, passing away the little remnant of what had been a day of rest to our guides and of delicious idleness to ourselves. The camp was built on the bold shore of a lake which yet wants a name worthy its beauty, but which we always, for want of such a one, call by that which its white discoverer left it,--Tupper's Lake,--whose waters, the untremulous mirror of the forests and mountains around and the sky above, gleamed to us only in blue fragments through the interstices of the leafy veil that intervened. The forest is unbroken to the water's edge, and even out over the water itself it stretches its firs and cedars, gray and moss-draped, with here and there a moisture-loving white-birch, so that from the very shore one sees only suggestive bits of distance and sky; and from where we were lying, sky, hills, and the water below were all blue alike, and undistinguishable alike, glimpses of a world of sunlight, which the grateful shadow we lay in made delicious to the thought. We were sheltered right woodsman-like;--our little house of fresh-peeled bark of spruces, twelve feet by nine, open only to the east, on which side lay
A person stands in a river with a black umbrella, looking up at a waterfall.
The image depicts a person standing in a river, holding an umbrella, with a dramatic red sky above them. The person is silhouetted against the sky, creating a sense of isolation and solitude. The river, reflecting the vibrant red sky, is surrounded by a barren landscape with dead trees and a rocky riverbed.
Jeremy saw that day the old fragment of castle wall, the green expanse falling like a sheeted waterfall from the Cathedral heights, the blue line of river flashing in the evening sun between the bare-boughed trees, the long spaces of black shadow spreading slowly over the colour, as though it were all being rolled up and laid away for another day; the brown frosty path of the Rope Walk, the farther bank climbing into fields and hedges, ending in the ridge of wood, black against the golden sky. And all so still! As the children stood there they could catch nestlings' faint cries, stirrings of dead leaves and twigs, as birds and beasts moved to their homes; the cooing of the rooks about the black branches seemed to promise that this world should be for ever tranquil, for ever cloistered and removed; the sun, red and flaming above the dark wood, flung white mists hither and thither to veil its departure. The silence deepened, the last light flamed on the river and died upon the hill.
The boat is a small wooden sailboat with a sail that is lit up, reflecting the lights of the city.
The image captures a serene scene of a small wooden sailboat on a calm river at dusk. The boat, with its sail illuminated by the fading light, is positioned centrally in the frame. The river, reflecting the boat and the surrounding buildings, is bathed in the soft glow of the setting sun.
In large halls, like a theatre or opera house, the light fell in a soft and penetrating radiance from the center of the dome. Its source was not visible to either audience or actresses, and, in consequence, occasioned no discomfort to the eyes. The light that illuminated the stage was similarly arranged. The footlights were not visible. They were in the rear of the stage. The light came upward like the rays of the setting sun, revealing the setting of the stage with vivid distinctness. I can best describe the effect of this singular arrangement by calling attention to the appearance of the sun when declining behind a small elevation. How sharply every object is outlined before it? How soft and delicate is the light in which everything is bathed? Every cloud that floats has all of its fleecy loveliness limned with a radiant clearness.
a canyon with a river flowing through it and a galaxy in the sky
The image presents a breathtaking scene of a canyon under a starry night sky. The canyon walls, rugged and rocky, are adorned with a vibrant pink and purple glow, suggesting the presence of a river flowing through the canyon. The river, with its light reflecting off the canyon walls, is the focal point of the image.
It is a lovely road out to Chteau-Bigot. First you drive through the ancient suburbs of the Lower Town, and then you mount the smooth, hard highway, between pretty country-houses, toward the village of Charlesbourg, while Quebec shows, to your casual backward-glance, like a wondrous painted scene, with the spires and lofty roofs of the Upper Town, and the long, irregular wall wandering on the verge of the cliff; then the thronging gables and chimneys of St. Roch, and again many spires and convent walls; lastly the shipping in the St. Charles, which, in one direction, runs, a narrowing gleam, up into its valley, and in the other widens into the broad light of the St. Lawrence. Quiet, elmy spaces of meadow land stretch between the suburban mansions and the village of Charlesbourg, where the driver reassured himself as to his route from the group of idlers on the platform before the church. Then he struck off on a country road, and presently turned from this again into a lane that grew rougher and rougher, till at last it lapsed to a mere cart-track among the woods, where the rich, strong odors of the pine, and of the wild herbs bruised under the wheels, filled the air. A peasant and his black-eyed, open-mouthed boy were cutting withes to bind hay at the side of the track, and the latter consented to show the strangers to the chteau from a point beyond which they could not go with the carriage. There the small habitant and the driver took up the picnic-baskets, and led the way through pathless growths of underbrush
The image depicts a picturesque sunset over a river, with a bridge spanning the river in the foreground. The bridge is illuminated by street lamps, adding to the serene ambiance of the scene.
The image captures a serene sunset over a river, bathed in the warm hues of the setting sun. The sky is a gradient of orange and pink, with clouds scattered across the expanse. The river, reflecting the vibrant colors of the sky, is flanked by a stone bridge on the left side, adorned with street lamps that cast a warm glow on the scene.
"On the left of the spectator lay the ruined wall, broken in many places, and in some, overhanging the narrow beach below in rude and heavy masses. Huge knots of sea-weed hung upon the jagged and pointed stones, trembling in every breath of wind; and the green ivy clung mournfully round the dark and ruined battlements. Behind it rose the ancient castle, its towers roofless, and its massive walls crumbling away, but telling us proudly of its old might and strength, as when, seven hundred years ago, it rang with the clash of arms, or resounded with the noise of feasting and revelry. On either side, the banks of the Medway, covered with corn-fields and pastures, with here and there a windmill, or a distant church, stretched away as far as the eye could see, presenting a rich and varied landscape, rendered more beautiful by the changing shadows which passed swiftly across it, as the thin and half-formed clouds skimmed away in the light of the morning sun. The river, reflecting the clear blue of the sky, glistened and sparkled as it flowed noiselessly on; and the oars of the fishermen dipped into the water with a clear and liquid sound, as their heavy but picturesque boats glided slowly down the stream."
The image depicts a tranquil scene of a river flowing through a field of pink flowers, with a solitary tree standing tall in the background. The sky above is a deep blue, and the overall atmosphere is one of serenity and peace.
The image depicts a serene scene of a tranquil landscape. The focal point is a winding river, reflecting the sky above, which is adorned with a smattering of clouds. The river is flanked by a lush carpet of pink flowers, their vibrant color contrasting beautifully with the surrounding greenery.
When of morning he stepped out of the plain farm-house with its rotting doors and leaking roof and started off joyously to his day's work, at the sight of the great sun just rising above the low dew-wet hills, his soul would go soaring away to heaven's gate. Sometimes he would be abroad late at night, summoning the doctor for his father or returning from a visit to another neighborhood. In every farmhouse that he passed on the country road the people were asleep--over all the shadowy land they were asleep. And everywhere, guardian in the darkness, watched the moon, pouring its searching beams upon every roof, around every entrance, on kennel and fold, sty and barn--with light not enough to awaken but enough to protect: how he worshipped toward that lamp tended by the Sleepless! There were summer noons when he would be lying under a solitary tree in a field--in the edge of its shade, resting; his face turned toward the sky. This would be one over-bending vault of serenest blue, save for a distant flight of snow-white clouds, making him think of some earthward-wandering company of angels. He would lie motionless, scarce breathing, in that peace of the earth, that smile of the Father. Or if this same vault remained serene too long; if the soil of the fields became dusty to his boots and his young grain began to wither, when at last, in response to his prayer, the clouds were brought directly over them and emptied down, as he stepped forth into the cooled, dripping, soaking green, how his heart blessed the Power that
The image depicts a tranquil scene of a river with boats on it, set against a backdrop of a sunset sky. The boats are docked along the riverbank, and the sky is painted in hues of orange and pink, with the sun setting in the distance. The overall mood of the image is peaceful and serene.
The image depicts a serene scene of a river in Paris during sunset. The sky is painted in hues of orange and pink, with the sun setting behind the cityscape. The river, reflecting the vibrant colors of the sky, is lined with buildings on both sides, their facades adorned with a variety of architectural styles.
Did one not know their bearings, the great ruins of this Egypt would pass unnoticed. With a few rare exceptions they lie beyond the green plains on the threshold of the solitudes. And against the changeless, rose-coloured background of these cliffs of the desert, which follow you during the whole of this tranquil navigation of some 600 miles, are to be seen only the humble towns and villages of to-day, which have the neutral colour of the ground. Some openwork minarets dominate them--white spots above the prevailing dullness. Clouds of pigeons whirl round in the neighbourhood. And amongst the little houses, which are only cubes of mud, baked in the sun, the palm-trees of Africa, either singly or in mighty clusters, rise superbly and cast on these little habitations the shade of their palms which sway in the wind. Not long ago, although indeed everything in these little towns was mournful and stagnant, one would have been tempted to stop in passing, drawn by that nameless peace that belonged to the Old East and to Islam. But, now, before the smallest hamlet--amongst the beautiful primitive boats, that still remain in great numbers, pointing their yards, like very long reeds, into the sky--there is always, for the meeting of the tourist boats, an enormous black pontoon, which spoils the whole scene by its presence and its great advertising inscription: "Thomas Cook & Son (Egypt Ltd.)." And, what is more, one hears the whistling of the railway, which runs mercilessly along the river, bringing from the
The image depicts a serene scene of a river flowing through a park. The river is surrounded by trees and a bridge, creating a picturesque landscape. The sky is a clear blue, and the colors of the trees are vibrant, with leaves in shades of yellow, orange, and pink. The overall atmosphere is calm and peaceful, with the river flowing smoothly
The image depicts a serene scene of a tranquil river flowing through a park. The river, which is the main focus of the image, is a deep blue color, reflecting the clear sky above. The sky is a bright blue with scattered clouds, suggesting a sunny day.
In the day the scene was one of calm and tranquil beauty. It would have seemed impossible to connect it with war and battle. The glorious city, rising in terraces of palaces, lay reflected in the mirrorlike waters of the bay, blue as the deep sky above them. The orange-trees, loaded with golden fruit, shed their perfume over marble fountains, amid gardens of every varied hue; bands of military music were heard from the public promenades--all the signs of joy and festivity which betokened a happy and pleasure-seeking population. But at night the 'red artillery' again flashed forth, and the wild cries of strife and battle rose through the beleaguered city. The English spies reported that a famine and a dreadful fever were raging within the walls, and that all Massena's efforts were needed to repress an open mutiny of the garrison; but the mere aspect of the 'proud city' seemed to refute the assertion. The gay carolling of church bells vied with the lively strains of martial music, and the imposing pomp of military array, which could be seen from the walls, bespoke a joyous confidence, the very reverse of this depression.
The image depicts a picturesque scene of a river in a European city, with hot air balloons floating above it, creating a vibrant and colorful atmosphere. The cityscape is adorned with historic buildings and a grand cathedral, adding to the charm of the scene. The river, reflecting the sky and the city, is surrounded by trees and a bridge, enhancing the
The image depicts a picturesque scene of a river in a European city, with a bridge spanning the river in the foreground. The sky is a clear blue, and the sun is shining brightly, casting a warm glow over the scene. Several hot air balloons are floating in the sky, adding a festive touch to the atmosphere.
Not to spend a whole summer's day upon the voyage, we will suppose ourselves to have reached London Bridge, and thence to have taken another steamer for a farther passage up the river. But here the memorable objects succeed each other so rapidly that I can spare but a single sentence even for the great Dome, though I deem it more picturesque, in that dusky atmosphere, than St. Peter's in its clear blue sky.[8] I must mention, however (since everything connected with royalty is especially interesting to my dear countrymen), that I once saw a large and beautiful barge, splendidly gilded and ornamented, and overspread with a rich covering, lying at the pier nearest to St. Paul's Cathedral; it had the royal banner of Great Britain displayed, besides being decorated with a number of other flags; and many footmen (who are universally the grandest and gaudiest objects to be seen in England at this day, and these were regal ones, in a bright scarlet livery bedizened with gold-lace, and white silk stockings) were in attendance. I know not what festive or ceremonial occasion may have drawn out this pageant; after all, it might have been merely a city-spectacle, appertaining to the Lord Mayor; but the sight had its value in bringing vividly before me the grand old times when the sovereign and nobles were accustomed to use the Thames as the high street of the metropolis, and join in pompous processions upon it; whereas, the desuetude of such customs nowadays has caused the whole show of river-life to consist in a
The image depicts a serene autumn river with trees displaying vibrant autumn colors.
The image captures a serene autumn scene in a tranquil river. The river, reflecting the vibrant colors of the surrounding trees, is the main focus of the image. The trees, adorned with a mix of red, orange, and yellow leaves, create a picturesque landscape.
The Gaspereau country must have been beautiful enough when the Acadians first came to make their home there, but in the years of their occupation they gave to the landscape, quite unconsciously no doubt, certain subtle touches that turned it into something little less than an earthly paradise. Standing upon the ridge and looking down into the valley of the Gaspereau, one sees a scene that it not very materially changed from the days of the Acadians--after one has eliminated such modern excrescences as railways and bridges. The village of Grand Pr would have to be rearranged, no doubt. There was less of it in the first half of the eighteenth century; it did not cover quite the same ground; but no doubt a traveller who came that way in 1750 would have seen in the vale beneath many such picturesque cottages embowered in the self-same trees, and the rest of the scene would have been much the same as he would see to-day. Charles Roberts, the Canadian poet, novelist, and historian, has made a word-picture of it. "The picture is an exquisite pastoral. Among such deep fields, such billowy groves, and such embosomed farmsteads might Theocritus have wrought his idylls to the hum of the heavy bees. Along the bottom of the sun-brimmed vale sparkles the river, between its banks of wild rose and convolvulus, with here and there a clump of grey-green willows, here and there a red-and-white bridge. As it nears its mouth the Gaspereau changes its aspect. Its complexion of clear amber grows yellow and opaque as it
The image depicts a serene landscape featuring a winding river, surrounded by lush green trees and vibrant yellow flowers. The sun is setting, casting a warm orange glow over the scene, enhancing the overall ambiance of the image.
The image depicts a serene landscape at sunset, with a river flowing through a field of yellow flowers. The sky is a vibrant mix of orange and pink hues, with the sun setting behind a mountain range. The river, which is the main focus of the image, is surrounded by lush green trees and bushes, creating a picturesque scene.
As far as Cervera the country we passed through was evidently picturesque, and only wanted the contrast of sun and shade to make it charming. Conspicuous amidst the landscape for many and many a long mile was the wonderful mountain of Montserrat with its peaks and pinnacles, about which the white mists still rolled and wrapped themselves. The scenery was diversified by many a wide ravine, where tangled bushes grew over the hard rock; many a fertile vale rich in fruit trees, pines, olives, oak and cork trees, intermixed their various shades of green. Beyond Cervera, the country was cold and barren and abounded in rock-strewn plains, to which the grey skies gave a still more sad and sombre tone. We approached Lerida when the shades of night were falling, and could just discern its grand outlines rising out of the great plain. These seemed to yield in interest only to Manresa, whilst the town itself proved far more attractive.
The image is a panoramic view of the River Seine in Paris, France. The river is a vibrant blue, reflecting the sky above, and is flanked by a stone bridge and numerous trees. The sky is a deep blue, dotted with fluffy clouds, and the sun is setting, casting a warm glow on the scene.
The image captures a serene view of the River Seine in Paris, France. The river, a tranquil body of water, is flanked by a stone bridge on its right side. The bridge, with its ornate stonework, is adorned with numerous lampposts, casting a warm glow on the scene.
At a glance the travelers could see to the right the whole winding course of the Cise meandering like a silver snake among the meadows, where the grass had taken the deep, bright green of early spring. To the left lay the Loire in all its glory. A chill morning breeze, ruffling the surface of the stately river, had fretted the broad sheets of water far and wide into a network of ripples, which caught the gleams of the sun, so that the green islets here and there in its course shone like gems set in a gold necklace. On the opposite bank the fair rich meadows of Touraine stretched away as far as the eye could see; the low hills of the Cher, the only limits to the view, lay on the far horizon, a luminous line against the clear blue sky. Tours itself, framed by the trees on the islands in a setting of spring leaves, seemed to rise like Venice out of the waters, and her old cathedral towers soaring in air were blended with the pale fantastic cloud shapes in the sky.
The image depicts a serene river scene at sunset, with the sky and water reflecting the warm hues of the sunset. The river is lined with trees and buildings, creating a picturesque setting.
The image depicts a serene scene of a tranquil river at sunset. The sky is painted in hues of pink and orange, with the sun just setting on the horizon. The river, reflecting the vibrant colors of the sky, is flanked by lush greenery on both sides, with trees and bushes dotting the landscape.
The sun had just risen, the air was fresh and invigorating and densely filled with the odour of pines; the calm water of the river, reflecting the clear sky, was gently murmuring, breaking against the sides of the vessels and the chains of the anchors. The loud and cheerful noise of toil, the youthful beauty of nature, gaily illumined by the sunbeams--all was full of a kind-hearted, somewhat crude, sound power, which pleasantly stirred Foma's soul, awakening in him new and perplexed sensations and desires. He was sitting by the table under the awning of the steamer and drinking tea, together with Yefim and the receiver of the corn, a provincial clerk--a redheaded, short-sighted gentleman in glasses. Nervously shrugging his shoulders the receiver was telling in a hoarse voice how the peasants were starving, but Foma paid little attention to his words, looking now at the work below, now at the other side of the river--a tall, yellow, sandy steep shore, whose edges were covered with pine trees. It was unpeopled and quiet.
two people standing on a rocky riverbank at sunset.
The image depicts a serene landscape at sunset, with two figures standing on the bank of a river. The sky is ablaze with vibrant hues of red and orange, creating a dramatic contrast with the dark, rocky mountains in the background. The river, reflecting the colors of the sky, is nestled amidst the rocky terrain, adding depth to the scene.
For a moment no one spoke on board the boat. Every one watched that sea and sky, either with some presentiment of danger, or because they felt the influence of the religious melancholy that takes possession of nearly all of us at the close of the day, the hour of prayer, when all nature is hushed save for the voices of the bells. The sea gleamed pale and wan, but its hues changed, and the surface took all the colors of steel. The sky was almost overspread with livid gray, but down in the west there were long narrow bars like streaks of blood; while lines of bright light in the eastern sky, sharp and clean as if drawn by the tip of a brush, were separated by folds of cloud, like the wrinkles on an old man's brow. The whole scene made a background of ashen grays and half-tints, in strong contrast to the bale-fires of the sunset. If written language might borrow of spoken language some of the bold figures of speech invented by the people, it might be said with the soldier that "the weather has been routed," or, as the peasant would say, "the sky glowered like an executioner." Suddenly a wind arose from the quarter of the sunset, and the skipper, who never took his eyes off the sea, saw the swell on the horizon line, and cried:
The image depicts a serene landscape featuring a winding river, surrounded by lush green grass and wildflowers, with a vibrant sunset sky overhead.
The image depicts a serene landscape at sunset, with a winding river running through a lush green field. The sky is a vibrant mix of orange and pink hues, with the sun positioned high in the sky, casting a warm glow over the scene. The river, surrounded by tall grass and wildflowers, is a vibrant yellow, reflecting the colors of the sunset.
The hay that so short a time ago was long, lush grass, with fragrant meadow-sweet and gold-eyed marguerites growing amongst it in the green meadow-land by the river, is now dry hay--fragrant still, though dead, and hidden from the sun's warm rays underneath the dark wooden rafters of the barn. Occasionally a cat on a hunting foray comes into the barn to look for mice, or to nestle cosily down into purring slumber. Now and then a hen comes furtively tip-toeing through the open door and makes for itself a secret nest in which to lay the eggs which it subsequently heralds with such loud clucks of proud rejoicing as to completely undo all its previous precautions. Sometimes children come in, pursuing cat or hen, or merely to tumble each other over amongst the soft hay which they leave in chaotic confusion, and when they have gone away, a little more of the sky can be seen through the little window in the roof, and through the wooden bars of the window lower down. Yet, whatever other living creatures may come or go, by those windows of the barn, and high up on its dark rafters, there is always a living creature working, ceaselessly working. When, through the skylight, the sun-god drives a golden sunbeam, and a long shaft of dancing dust-atoms passes from the window to what was once a part of the early summer's glory, the work of the unresting toiler is also to be seen, for the window is hung with shimmering grey tapestries made by Arachne, the spider, and from rafter to rafter her threads are
The image depicts a serene landscape with a river running through a valley, surrounded by lush green hills and trees. The sun is setting, casting a warm glow over the scene, creating a picturesque and tranquil atmosphere.
The image depicts a serene landscape at sunset, with a river running through the center of the scene. The sky is a vibrant mix of orange and pink hues, with the sun positioned high in the sky, casting a warm glow over the landscape. The river, which is a prominent feature of the image, is surrounded by lush green grass and yellow flowers, creating a vibrant contrast with the surrounding trees.
It was so long since he had known a Northern spring that he had forgotten how much later the beginning of May was in New Hampshire; but as his train ran up from Springfield he realized the difference of the season from that which he had left in New York. The meadows were green only in the damp hollows; most of the trees were as bare as in midwinter; the willows in the swamplands hung out their catkins, and the white birches showed faint signs of returning life. In the woods were long drifts of snow, though he knew that in the brown leaves along their edges the pale pink flowers of the trailing arbutus were hiding their wet faces. A vernal mildness overhung the landscape. A blue haze filled the distances and veiled the hills; from the farm door-yards the smell of burning leaf-heaps and garden-stalks came through the window which he lifted to let in the dull, warm air. The sun shone down from a pale sky, in which the crows called to one another.
two people are standing on a bridge overlooking a city at sunset.
The image captures a serene scene at sunset, featuring two individuals standing on a sidewalk by a river. The sky is painted in hues of pink and orange, with the sun just beginning to set, casting a warm glow over the scene. The river, reflecting the vibrant colors of the sky, is flanked by a bridge that stretches across the water.
You might mistake the time for mid-May. Before the view lies the Place d'Armes in its green-breasted uniform of new spring grass crossed diagonally with white shell walks for facings, and dotted with the _elite_ of the city for decorations. Over the line of shade-trees which marks its farther boundary, the white-topped twin turrets of St. Louis Cathedral look across it and beyond the bared site of the removed battery (built by the busy Carondelet to protect Louisiana from herself and Kentucky, and razed by his immediate successors) and out upon the Mississippi, the color of whose surface is beginning to change with the changing sky of this beautiful and now departing day. A breeze, which is almost early June, and which has been hovering over the bosom of the great river and above the turf-covered levee, ceases, as if it sank exhausted under its burden of spring odors, and in the profound calm the cathedral bell strikes the sunset hour. From its neighboring garden, the convent of the Ursulines responds in a tone of devoutness, while from the parapet of the less pious little Fort St. Charles, the evening gun sends a solemn ejaculation rumbling down the "coast;" a drum rolls, the air rises again from the water like a flock of birds, and many in the square and on the levee's crown turn and accept its gentle blowing. Rising over the levee willows, and sinking into the streets,--which are lower than the water,--it flutters among the balconies and in and out of dim Spanish arcades, and finally drifts away toward that part of the sky
a man kayaking in a river with a bridge in the background
The image depicts a person kayaking on a river, with a bridge in the background. The person is wearing a yellow jacket and a hat, and is paddling with a black paddle. The river is surrounded by trees and buildings, creating a picturesque scene.
We were expected, for had we not followed the telegraph-wires? Utter strangers as we were, at once we were made to feel at home, and everything was done for the comfort of the weary travelers. A description of this fort will do for all the rest, though this is one of the oldest, largest and most important posts. There is no sort of fortification whatever: a large parade-ground, nearly destitute of grass and planted with half-dead trees, is surrounded by the barracks and quarters, neat, low buildings, and beyond, at one end, are the ordnance and sutler's stores. A hospital and a large old barrack called Bedlam tower above the rest: more buildings straggle away toward the Laramie River, where there is a bridge. The position commands the river and bluffs. No grass, no gardens, no irrigation, no vegetables nor anything green is here. One good-sized cottonwood, perhaps coeval with the post, seemed as much of a veteran as the old artilleryman, a character always pointed out to strangers, who has lived at the post ever since it was a post, and is distinguished as the ugliest man there. His seamed and scarred face looks as if it had been through many storms and many Indian fights. Another distinguished character is the pet elk, a privileged person, who abuses his privileges by walking into houses and eating up hats, shoes, window-curtains, toys--anything to satisfy his voracious appetite.
The painting depicts a lush green forest with a winding river running through it. The river is surrounded by tall trees and dense foliage, creating a serene and mystical atmosphere.
The image is a digital painting depicting a misty, green landscape. The central focus is a river, which is the main source of light in the scene. The river is surrounded by lush greenery, with trees and bushes adding to the verdant atmosphere.
A large, old-fashioned, weird-looking wooden building, with strangely shaped bay windows and stranger gables projecting here and there from the slanting roof, where the green moss clung in patches to the moldy shingles, or formed a groundwork for the nests the swallows built year after year beneath the decaying eaves. Long, winding piazzas, turning sharp, sudden angles, and low, square porches, where the summer sunshine held many a fantastic dance, and where the winter storm piled up its drifts of snow, whistling merrily as it worked, and shaking the loosened casement as it went whirling by. Huge trees of oak and maple, whose topmost limbs had borne and cast the leaf for nearly a century of years, tall evergreens, among whose boughs the autumn wind ploughed mournfully, making sad music for those who cared to listen, and adding to the loneliness which, during many years, had invested the old place. A wide spreading grassy lawn, with the carriage road winding through it, over the running brook, and onward 'neath graceful forest trees, until it reached the main highway, a distance of nearly half a mile. A spacious garden in the rear, with bordered walks and fanciful mounds, with climbing roses and creeping vines showing that somewhere there was a taste, a ruling hand, which, while neglecting the somber building and suffering it to decay, lavished due care upon the grounds, and not on these alone, but also on the well-kept barns, and the whitewashed dwellings in front, where numerous, happy, well-fed negroes lived and
The ancient stone bridge of the ancient city of Petra, carved into the side of a mountain, glowing with a warm light, with a river flowing through the valley, and a cloudy sky above.
The image depicts a serene, nighttime scene in a mountainous landscape. The central focus is a narrow, winding river that flows through the center of the image, with the riverbed illuminated by a soft glow from the surrounding rocks and the light from the bridge. The bridge, which is illuminated by a warm light, is situated on the left side of the image, crossing the river.
ISERE [anc. _Isara_], one of the chief rivers in France as well as of those flowing down on the French side of the Alpine chain. Its total length from its source to its junction with the Rhone is about 180 m., during which it descends a height of about 7550 ft. Its drainage area is about 4725 sq. m. It flows through the departments of Savoie, Isere and Drome. This river rises in the Galise glaciers in the French Graian Alps and flows, as a mountain torrent, through a narrow valley past Tignes in a north-westerly direction to Bourg St Maurice, at the western foot of the Little St Bernard Pass. It now bends S.W., as far as Moutiers, the chief town of the Tarentaise, as the upper course of the Isere is named. Here it again turns N.W. as far as Albertville, where after receiving the Arly (right) it once more takes a south-westerly direction, and near St Pierre d'Albigny receives its first important tributary, the Arc (left), a wild mountain stream flowing through the Maurienne and past the foot of the Mont Cenis Pass. A little way below, at Montmelian, it becomes officially navigable (for about half of its course), though it is but little used for that purpose owing to the irregular depth of its bed and the rapidity of its current. Very probably, in ancient days, it flowed from Montmelian N.W. and, after passing through or forming the Lac du Bourget, joined the Rhone. But at present it continues from Montmelian in a south-westerly direction, flowing through the broad and fertile valley of the Graisivaudan, though receiving but a single
volcanic eruption in the midst of a rocky landscape.
The image depicts a volcanic landscape with a river flowing through the foreground. The river is surrounded by dark rocks and lava, with a large volcano erupting in the background. The sky is filled with clouds, and the overall scene is bathed in a dramatic, fiery glow.
_Great eruption of Skaptár Jokul._--Earthquakes which had long been felt in Iceland, became violent on the 11th of June, 1783, when Skaptár Jokul, distant nearly 200 miles from Nyöe, threw out a torrent of lava which flowed down into the river Skaptâ, and completely dried it up. The channel of the river was between high rocks, in many places from four hundred to six hundred feet in depth, and near two hundred in breadth. Not only did the lava fill up this great defile to the brink, but it overflowed the adjacent fields to a considerable extent. The burning flood, on issuing from the confined rocky gorge, was then arrested for some time by a deep lake, which formerly existed in the course of the river, between Skaptardal and Aa, which it entirely filled. The current then advanced again, and reaching some ancient lava full of subterraneous caverns, penetrated and melted down part of it; and in some places, where the steam could not gain vent, it blew up the rock, throwing fragments to the height of more than 150 feet. On the 18th of June another ejection of liquid lava rushed from the volcano, which flowed down with amazing velocity over the surface of the first stream. By the damming up of the mouths of some of the tributaries of the Skaptâ, many villages were completely overflowed with water, and thus great destruction of property was caused. The lava, after flowing for several days, was precipitated down a tremendous cataract called Stapafoss, where it filled a profound abyss, which that great waterfall
The image is a digital painting of a fantasy landscape. The central focus is a river flowing through a canyon, with rocky cliffs on either side. The sky is a deep blue, dotted with stars, and the river is illuminated by a soft glow, giving it a magical appearance. The painting is done in a realistic style, with attention to detail in
The image is a digital painting depicting a mystical landscape. The central focus is a narrow, winding river that meanders through the heart of the canyon. The river is a deep blue, reflecting the light from the sky above.
The mist was hanging heavily on the lower parts of the plain like a thick snowbank, although the sky was beautifully clear above, in which a few pale stars still glimmered. Long lines of fog were slowly drifting along the bottoms of the valleys, dispelled by a light breeze, and day fast advancing bid fair for sport; a heavy dew lay upon the grass, and we stood for some moments in uncertainty as to the first point of our extensive hunting-grounds that we should beat. There were fresh tracks of elk close to our 'lodge,' who had been surveying our new settlement during the night. Crossing the river by wading waist-deep, we skirted along the banks, winding through a narrow valley with grassy hills capped with forest upon either side. Our object in doing this was to seek for marks where the elk had come down to drink during the night, as we knew that the tracks would then lead to the jungle upon either side the river. We had strolled quietly along for about half a mile, when the loud bark of an elk was suddenly heard in the jungle upon the opposite hills. In a moment the hounds dashed across the river towards the well-known sound, and entered the jungle at full speed. Judging the direction which the elk would most probably take when found, I ran along the bank of the river, down stream, for a quarter of a mile, towards a jungle through which the river flowed previous to its descent into the lower plains, and I waited, upon a steep grassy hill, about a hundred feet above the river's bed. From this spot I had a fine view of the
The painting depicts a vibrant, colorful landscape with a river running through the middle, surrounded by towering cliffs and a sky filled with hues of pink and purple.
The image is a digital painting that depicts a vibrant and dynamic landscape. The central focus is a narrow, winding river that meanders through a rocky canyon. The river is a deep blue, contrasting with the rocky walls that are a mix of purple and pink hues.
A few miles from Canfanaro to the north-west is Pisino, the capital of Istria, situated upon and about the rock beneath which the river Foiba disappears. The railway winds round the sides of green and wooded hills, rising with each curve till it is some height above the city. The landscape is more striking than is usual in Istria, hills of some size appearing on the horizon, while in the middle distance the Foiba meanders through a fruitful valley, occasionally broken by a low waterfall. The copses which clothe the hillsides here and there are vocal with the song of birds, and nightingales may be heard in plenty in the spring. The situation is magnificent. The town stands upon the summit of a promontory spreading out like the fingers of a hand, and at its base the river foams and rushes, entering a deep winding ravine and plunging beneath a rocky precipice several hundred feet high, on the top of which a few houses appear. The steep sides are green with trees to a certain height, and then the grey rock appears scantily covered with grass in places; above the abyss swallows dart and hawks hover. On all sides the rushing of water is heard, and fountains in the streets betoken an unusual supply, for Istria is generally a thirsty land. The castle is so close to the chasm that from one of the windows a stone can be tossed into the water. The dwarf wall shown in the illustration runs along the top of the precipice. Upon the door the date of 1785 is cut, but the greater part of the walls with their machicolations belongs to a
painting of a river with sailboats and flowers
The image depicts a serene scene of a river with two sailboats on it. The sailboats are positioned on the left side of the river, with one boat slightly ahead of the other. The sun is shining brightly in the sky, casting a warm glow over the scene.
evening were over! How sharp was the monition of hunger when the keen sea-air blew about your face on issuing out in the morning! and how fresh and cool and sweet was that early breeze, with the scent of Sheila's flowers in it! Then the long, bright day at the river-side, with the black pools rippling in the wind, and in the silence the rapid whistle of the silken line through the air, with now and again the "blob" of a big salmon rising to a fly farther down the pool! Where was there any rest like the rest of the mid-day luncheon, when Duncan had put the big fish, wrapped in rushes, under the shadow of the nearest rock, when you sat down on the warm heather and lit your pipe, and began to inquire where you had been bitten on hands and neck by the ferocious "clegs" while you were too busy in playing a fifteen-pounder to care? Then, perhaps, as you were sitting there in the warm sunlight, with all the fresh scents of the moorland around, you would hear a light footstep on the soft moss; and, turning round, here was Sheila herself, with a bright look in her pretty eyes, and a half blush on her cheek, and a friendly inquiry as to the way the fish had been behaving. Then the beautiful, strange, cool evenings on the shores of Loch Roag, with the wild, clear light still shining in the northern heavens, and the sound of the waves getting to be lonely and distant; or, still later, out in Sheila's boat, with the great yellow moon rising up over Suainabhal and Mealasabhal into a lambent vault of violet sky; a pathway of quivering
The image depicts a serene river with a clear blue water, surrounded by lush green trees and bushes, creating a peaceful and tranquil atmosphere.
The image depicts a serene, tranquil scene of a river flowing through a lush, green landscape. The river, which is the main focus of the image, is a deep blue-green color, reflecting the surrounding greenery. The banks of the river are lined with trees and bushes, their leaves a vibrant yellow, adding a warm and inviting atmosphere to the scene.
It was deadly hot, and most of the people saddened and silenced in the heat. From time to time the clouds idling about overhead met and sprinkled down a cruel little shower of rain that seemed to make the air less breathable than before. The lonely shores were yellow with drought; the islands grew wilder and barrener; the course of the river was for miles at a stretch through country which gave no signs of human life. The St. Lawrence has none of the bold picturesqueness of the Hudson, and is far more like its far-off cousin the Mississippi. Its banks are low like the Mississippi's, its current, swift, its way through solitary lands. The same sentiment of early adventure hangs about each: both are haunted by visions of the Jesuit in his priestly robe, and the soldier in his mediaeval steel; the same gay, devout, and dauntless race has touched them both with immortal romance. If the water were of a dusky golden color, instead of translucent green, and the shores and islands were covered with cottonwoods and willows instead of dark cedars, one could with no great effort believe one's self on the Mississippi between Cairo and St. Louis, so much do the great rivers strike one as kindred in the chief features of their landscape. Only, in tracing this resemblance you do not know just what to do with the purple mountains of Vermont, seen vague against the horizon from the St. Lawrence, or with the quaint little French villages that begin to show themselves as you penetrate farther down into Lower Canada. These look so peaceful, with their
The image depicts a tranquil night scene with a stone bridge, several boats, and a starry sky.
The image depicts a tranquil nighttime scene of a river with a stone bridge spanning it. The sky above is filled with stars, and the river is illuminated by the glow of the bridge and the lights of the surrounding buildings. Several boats are moored along the riverbank, with one boat in the foreground and others further back.
In the month of June Champlain and several Frenchmen commenced their ascent of the Richelieu in a large boat, in company with several bark canoes filled with sixty Canadian Indians. When they reached the rapids near the lovely basin of Chambly--named after a French officer and seignior in later times--the French boat could not be taken any {73} further. It was sent back to Quebec while Champlain and two others, armed with the arquebus, a short gun with a matchlock, followed the Indians through the woods to avoid this dangerous part of the river. The party soon reached the safe waters of the Richelieu and embarked once more in their canoes. For the first time Champlain had abundant opportunities to note the customs of the Indians on a war-path, their appeals to evil spirits to help them against their enemies, their faith in dreams, and their methods of marching in a hostile country. The party passed into the beautiful lake which has ever since that day borne the great Frenchman's name; they saw its numerous islets, the Adirondacks in the west, and the Green Mountains in the east. Paddling cautiously for some nights along the western shore, they reached at last on the evening of the 29th of July a point of land, identified in later days as the site of Ticonderoga, so celebrated in the military annals of America. Here they found a party of Iroquois, who received them with shouts of defiance, but retreated to the woods for the night with the understanding on both sides that
The image depicts a serene winter scene with a river flowing through a forest. The river is blanketed in snow, and the trees on either side are covered in snow as well, creating a picturesque winter landscape.
The image depicts a serene winter scene featuring a river flowing through a snowy forest. The river, which is the main focus of the image, is surrounded by snow-covered trees and bushes. The trees are densely packed, creating a dense forest-like atmosphere.
On the addition of Formosa to her dominions, Fuji ceased to be Japan's highest mountain, and took the third place on the list. Mount Morrison (14,270 ft.), which the Japanese renamed Niitaka-yama (New High Mountain), stands first, and Mount Sylvia (12,480 ft.), to which they give the name of Setzu-zan (Snowy Mountain), comes second. Mount Morrison stands nearly under the Tropic of Cancer. It is not volcanic, but consists of argillaceous schist and quartzite. An ascent made by Dr Honda of the imperial university of Japan showed that, up to a height of 6000 ft., the mountain is clothed with primeval forests of palms, banyans, cork trees, camphor trees, tree ferns, interlacing creepers and dense thickets of rattan or stretches of grass higher than a man's stature. The next interval of 1000 ft. has gigantic cryptomerias and chamoecyparis; then follow pines; then, at a height of 9500 ft., a broad plateau, and then alternate stretches of grass and forest up to the top, which consists of several small peaks. There is no snow. Mount Morrison, being surrounded by high ranges, is not a conspicuous object. Mount Sylvia lies in 24 30' N. lat. There are many other mountains of considerable elevation. In the north is Getsurbi-zan (4101 ft.); and on either side of Setzu-zan, with which they form a range running due east and west across the island, are Jusampunzan (4698 ft.) and Kali-zan (7027 ft.). Twenty-two miles due south of Kali-zan stands Hakumosha-zan (5282 ft.), and just 20 m. due south of Hakumosha-zan begins a chain of
a man in a black jacket stands in front of a large moon at night, gazing out at a river with buildings in the background.
The image depicts a man standing on a bridge overlooking a river at night, gazing at a large, illuminated full moon. The man is wearing a black jacket and has a beard. The moon is positioned in the upper right corner of the image, casting a bright, glowing light on the river and the bridge.
"It's an old fish-market, or, rather, that was its use once; now it's a sort of lodging-house, standing half on the dock and half on piles, somewhere down near ---- Street. I like the place. That is, it has a mysterious air which we fellows don't object to. Seen from the docks and in daylight, it has the appearance of four squat walls without windows. But if you take the trouble to crawl around on the river side, you will find two glazed loopholes overlooking the water, one on the lower story and one under the roof. There is also, I am told, a sky-light or two up above, but I can't swear to that. By night, the one bright glimmer you see on getting near it shines through the door. This stands open in the summer, or, rather, the upper half of it does, for it is made in two parts, like the old Dutch ones you see in the pictures; but in winter time an agreeable light shines through the four small holes arranged along the top half. A calico curtain blows in and out of this door on such nights as we have been having lately; for Mother Merry likes a fire, and the little stove she sits at, netting, heats the one big room below to smotheration, and the men won't stand it. If this curtain blows high you can, if you're nervy enough, get a peep at the inside, stewing with a horrible smell of fish, and bright with kerosene lamps and the busy little stove. You won't see much furniture, for Mother Merry don't spend her money on anything she can do without; but there is a table or two and some
The painting depicts a nighttime cityscape with a river running through the middle, flanked by tall buildings on both sides. A white bus is driving on the river, and a few cars are parked along the banks. The sky is filled with a bright yellow glow, suggesting a sunset or sunrise.
The image depicts a nighttime cityscape with a river running through the center. The river is flanked by tall buildings on both sides, creating a sense of depth and perspective. The buildings are illuminated by street lamps, casting a warm glow over the scene.
I often look out on the singular scene below my window. On both sides of the street, leaving barely room to enter the houses, sit the market women, with their baskets of vegetables and fruit. The middle of the street is filled with women buying, and every cart or carriage that comes along, has to force its way through the crowd, sometimes rolling against and overturning the baskets on the side, when for a few minutes there is a Babel of unintelligible sounds. The country women in their jackets and short gowns go backwards and forwards with great loads on their heads, sometimes nearly as high as themselves. It is a most singular scene, and so varied that one never tires of looking upon it. These women sit here from sunrise till sunset, day after day, for years. They have little furnaces for cooking and for warmth in winter, and when it rains they sit in large wooden boxes. One or two policemen are generally on the ground in the morning to prevent disputing about their places, which often gives rise to interesting scenes. Perhaps this kind of life in the open air is conducive to longevity; for certainly there is no country on earth that has as many old women. Many of them look like walking machines made of leather; and to judge from what I see in the streets here, I should think they work till they die.
The image depicts a serene landscape with a horse and rider in the foreground, surrounded by a river and a meadow. The horse is adorned with red and white patterned robes, while the rider is dressed in a red robe. The background features a lush green field, a river, and a mountain range, all under a clear blue sky with white clouds.
The image depicts a serene landscape with a river running through the middle, flanked by a rocky embankment on the left and a grassy embankment on the right. The river is surrounded by vibrant wildflowers, including red and white flowers, and a small stream of water flows gently to the right.
The little flags and all the orchard and birds were behind me; on one hand was the broad, grassy meadow with the creek running so swiftly, I could hear it, and the breath of the cowslips came up the hill. Straight in front was the lane running down from the barn, crossing the creek and spreading into the woods pasture, where the water ran wider and yet swifter, big forest trees grew, and bushes of berries, pawpaws, willow, everything ever found in an Indiana thicket; grass under foot, and many wild flowers and ferns wherever the cattle and horses didn't trample them, and bigger, wilder birds, many having names I didn't know. On the left, across the lane, was a large cornfield, with trees here and there, and down the valley I could see the Big Creek coming from the west, the Big Hill with the church on top, and always the white gravestones around it. Always too there was the sky overhead, often with clouds banked until you felt if you only could reach them, you could climb straight to the gates that father was so fond of singing about sweeping through. Mostly there was a big hawk or a turkey buzzard hanging among them, just to show us that we were not so much, and that we couldn't shoot them, unless they chose to come down and give us a chance.
The painting depicts a sunset over a body of water with a boat on the water and a city skyline in the background.
The image depicts a serene sunset over a calm river. The sky is ablaze with hues of orange and pink, with the sun positioned high in the sky, casting a warm glow over the scene. The river, reflecting the vibrant colors of the sky, is lined with a series of buildings and trees on the opposite bank.
They hired a boat, rowed over to the far bank, and sat on the stern seat, side by side under the trees where the water was stained deep green by the high woods. If they talked, it was but a word of love now and then, or to draw each other's attention to a fish, a bird, a dragon-fly. What use making plans--for lovers the chief theme? Longing paralysed their brains. They could do nothing but press close to each other, their hands enlaced, their lips meeting now and then. On Noel's face was a strange fixed stillness, as if she were waiting--expecting! They ate their chocolates. The sun set, dew began to fall; the river changed, and grew whiter; the sky paled to the colour of an amethyst; shadows lengthened, dissolved slowly. It was past nine already; a water-rat came out, a white owl flew over the river, towards the Abbey. The moon had come up, but shed no light as yet. They saw no beauty in all this--too young, too passionate, too unhappy.
cathedral with a large church and a church with a tall spire in the background.
The image captures a serene scene of a river with three boats, one of which is a red and white boat, positioned in the foreground. The boats are moving towards the right side of the image, with the red and white boat slightly ahead of the others. The river is calm, with the boats gently bobbing on the water's surface.
At four o'clock in the afternoon, the crew had got the steamer off the sand bank into deeper water, on the right, a little below the mouth of Fishing Creek.[196] Here our anchors, boats, &c., were taken on board, and three men left to take care of the landed goods, which consisted of the presents for the Indians in Major Dougherty's agency. The flat boat was sent back to its owner, on Fishing Creek, under the care of thirty men, who had to wade in the water to keep it afloat. After taking in fuel, for which the wood of the red mulberry and the ash is preferred, we proceeded slowly, and reached, at dusk, the hill, on the right bank, where Fort Osage, built, in 1808, by Governor Lewis, formerly stood. The ridge on which it was situated is free from wood, and cultivated, and the last posts and beams were taken away by the people in the neighbourhood. This part of the country was the chief abode of the Osages. Only ten years ago they were still at Cote-Sans-Dessein. They are peaceably disposed towards the Americans; and the Fur Company have trading posts in their territory. The whole tract, from the Osage River, through which we have passed, was formerly theirs, but they sold a part of it to the United States, and they are now entirely forced back into the prairies, on the river Arkansas.[197]
sunset view of a river with a large sun in the sky.
The image captures a serene sunset over a river. The sun, positioned in the upper right corner of the frame, is a vibrant orange, casting a warm glow over the scene. The river, reflecting the orange hue of the sky, is nestled in the foreground, with a few trees and a small structure visible on the right side.
David Thain, a few hours later, lounged in a basket chair in the one corner of his lawn from which he could catch, through the hedge of yew trees, a furtive glimpse of Mandeleys. By his side stood a small coffee equipage and an unopened box of cigars; in the distance was the vanishing figure of the quiet-mannered and very excellent butler with whom a famous registry office had endowed his household. It was an hour of supreme ease. An unusually warm day was succeeded by an evening from which only the warmth of the sun had departed, an evening full of scents from flowers and shrubs alike, an evening during which the thrushes prolonged their music until, from somewhere in the distant groves at the back of the house, a nightingale commenced, like the tuning up of an orchestra, to make faint but sweet essays at continued song. It was as light as day but there were stars already in the sky, and a pale, colourless moon was there, waiting for the slowly moving mantle of twilight. David Thain was alone with his thoughts.
The image depicts a turbulent river flowing through a narrow canyon. The river is a vibrant turquoise color, with white foam and white spray indicating the force of the water. The canyon walls are rugged and steep, covered in moss and vegetation, adding a natural, earthy touch to the scene. The mist in the background suggests that the photo was taken during the
The image depicts a breathtaking view of a turbulent river flowing through a narrow canyon. The river, with its turquoise waters, is in the midst of a powerful rapids, creating a dynamic and awe-inspiring scene. The canyon walls, composed of dark, jagged rocks, are shrouded in mist, adding to the mystique of the scene.
The last three days of March we spent in getting to the foot of the rapids in this gorge. Lyra and Kermit, with four of the best watermen, handled the empty canoes. The work was not only difficult and laborious in the extreme, but hazardous; for the walls of the gorge were so sheer that at the worst places they had to cling to narrow shelves on the face of the rock, while letting the canoes down with ropes. Meanwhile Rondon surveyed and cut a trail for the burden- bearers, and superintended the portage of the loads. The rocky sides of the gorge were too steep for laden men to attempt to traverse them. Accordingly the trail had to go over the top of the mountain, both the ascent and the descent of the rock-strewn, forest-clad slopes being very steep. It was hard work to carry loads over such a trail. From the top of the mountain, through an opening in the trees on the edge of a cliff, there was a beautiful view of the country ahead. All around and in front of us there were ranges of low mountains about the height of the lower ridges of the Alleghenies. Their sides were steep and they were covered with the matted growth of the tropical forest. Our next camping-place, at the foot of the gorge, was almost beneath us, and from thence the river ran in a straight line, flecked with white water, for about a kilometre. Then it disappeared behind and between mountain ridges, which we supposed meant further rapids. It was a view well worth seeing; but, beautiful although the country ahead of us was, its character was such as to promise further
The image depicts a serene, natural scene featuring a river flowing through a narrow canyon. The river, with its turquoise hue, is surrounded by lush greenery and towering trees, creating a picturesque and tranquil atmosphere. The sun is shining brightly, casting a warm glow over the scene, enhancing the overall beauty of the setting.
The image depicts a serene, natural scene of a river flowing through a narrow canyon. The river, with its turquoise hue, is the central focus of the image. The water appears to be flowing swiftly, creating a sense of movement and dynamism.
At one place, a number of miles above the city of Hilo, the waters were heard gurgling and splashing far below the surface. Water was needed for the sugar plantations, which modern energy has established all along the eastern coast of the large island. A tunnel was cut into the lava, the underground stream was tapped--and an abundant supply of water secured and sluiced down to the large plantations below. The head waters of the Wailuku river gathered from the melting snow of the mountains found these channels, which centered at last in the bed of a very ancient and very interesting lava flow. Sometimes breaking forth in a large, turbulent flood, the stream forces its way over and around the huge blocks of lava which mark the course of the eruption of long ago. Sometimes it courses in a tunnel left by the flowing lava and comes up from below in a series of boiling pools. Then again it falls in majestic sheets over high walls of worn precipices. Several large falls and some very picturesque smaller cascades interspersed with rapids and natural bridges give to this river a beauty peculiarly its own. The most weird of all the rough places through which the Wailuku river flows is that known as the basin of Rainbow Falls near Hilo. Here Hina, the moon goddess of the Polynesians, lived in a great open cave, over which the falls hung their misty, rainbow-tinted veil. Her son Maui, the mighty demi-god of Polynesia, supposed by some writers to be the sun-god of the Polynesians, had extensive lands along the northern bank of the river.
The ancient village of Xigu is nestled in the heart of the Himalayas, surrounded by lush greenery and a pristine turquoise river.
The image depicts a serene and picturesque scene of a river flowing through a mountainous landscape. The river, a vibrant turquoise color, is the main focus of the image, with its gentle flow and clear waters reflecting the surrounding greenery. The river is flanked by lush green trees and shrubs, adding a touch of nature to the scene.
_December 24_.--Cloudy and cool, with an occasional sprinkling rain. Our route to-day lay directly over the St. Ynes Mountain, by an elevated and most difficult pass. The height of this mountain is several thousand feet. We reached the summit about twelve o'clock, and, our company composing the advance-guard, we encamped about a mile and a half in advance of the main body of the battalion, at a point which overlooks the beautiful plain of Santa Barbara, of which, and the ocean beyond, we had a most extended and interesting view. With the spy-glass, we could see, in the plain far below us, herds of cattle quietly grazing upon the green herbage that carpets its gentle undulations. The plain is dotted with groves, surrounding the springs and belting the small water-courses, of which there are many flowing from this range of mountains. Ranchos are scattered far up and down the plain, but not one human being could be seen stirring. About ten or twelve miles to the south, the white towers of the mission of Santa Barbara raise themselves. Beyond is the illimitable waste of waters. A more lovely and picturesque landscape I never beheld. On the summit of the mountain, and surrounding us, there is a growth of hawthorn, manzinita (in bloom), and other small shrubbery. The rock is soft sandstone and conglomerate, immense masses of which, piled one upon another, form a wall along the western brow of the mountain, through which there is a single pass or gateway about eight or ten feet in width. The descent on the western side is precipitous, and appears
The painting depicts a rocky river with a sunset in the background.
The image depicts a serene landscape featuring a river flowing through a rocky terrain. The sky is painted in hues of orange and yellow, suggesting a sunset. The river is surrounded by rocks and trees, with the sun casting a warm glow on the scene.
lavished many a pleasing landscape; where the temperature of the air is warm, but continually refreshed by a wholesome breeze from the sea; and where the sky is almost constantly serene. A kind of happy uniformity runs through the whole life of the Taheitans. They rise with the sun, and hasten to rivers and fountains to perform an ablution equally reviving and cleanly. They pass the morning at work, or walk about till the heat of the day increases, when they retreat to their dwellings, or repose under some tufted tree. There they amuse themselves with smoothing their hair, and anoint it with fragrant oils; or they blow the flute, and sing to it, or listen to the songs of the birds. At the hour of noon, or a little later, they go to dinner. After their meals they resume their domestic amusements, during which the flame of mutual affection spreads in every heart, and unites the rising generation with new and tender ties. The lively jest, without any ill-nature, the artless tale, the jocund dance and frugal supper, bring on the evening; and another visit to the river concludes the actions of the day. Thus contented with their simple way of life, and placed in a delightful country, they are free from cares, and happy in their ignorance.'
The image depicts a serene landscape at sunset, featuring a winding river in the foreground, surrounded by a vast expanse of desert vegetation. The sky is ablaze with vibrant hues of orange and pink, creating a breathtaking display of natural light.
The image depicts a serene landscape at sunset, with a river flowing through the foreground. The sky is ablaze with vibrant hues of orange and pink, creating a dramatic contrast with the clear blue sky. The sun is setting, casting a warm glow over the scene, and the river reflects this light, adding to the overall tranquility of the setting.
What is beautiful in the landscape of that northern water-shed is the subtlety, delicacy, variety, and intricacy of the mountain outlines. There is drawing wherever the eye falls. Each section of the vast expanse is a picture of tossed crests and complicated undulations. And over the whole sea of stationary billows, light is shed like an ethereal raiment, with spare colour--blue and grey, and parsimonious green--in the near foreground. The detail is somewhat dry and monotonous; for these so finely moulded hills are made up of washed earth, the immemorial wrecks of earlier mountain ranges. Brown villages, not unlike those of Midland England, low houses built of stone and tiled with stone, and square-towered churches, occur at rare intervals in cultivated hollows, where there are fields and fruit trees. Water is nowhere visible except in the wasteful river-beds. As we rise, we break into a wilder country, forested with oak, where oxen and goats are browsing. The turf is starred with lilac gentian and crocus bells, but sparely. Then comes the highest village, Berceto, with keen Alpine air. After that, broad rolling downs of yellowing grass and russet beech-scrub lead onward to the pass La Cisa. The sense of breadth in composition is continually satisfied through this ascent by the fine-drawn lines, faint tints, and immense air-spaces of Italian landscape. Each little piece reminds one of England; but the geographical scale is enormously more grandiose, and the effect of majesty
The image depicts a serene river with two boats on it, surrounded by lush greenery and mountains.
The image depicts a serene landscape featuring a river flowing through a valley. The river is a vibrant blue, reflecting the clear blue sky above. The riverbanks are lined with lush green vegetation, including palm trees and other tropical plants.
"I enjoy in full draughts the glory of this evening's landscape," said Doctor Braun; "and enjoyment, you know, is silent, because the very pleasure is business enough, and leaves us no leisure for talking. But tell me, is it not a wonderful country, this Thuringia? Is it not worthy to be the heart of Germany, and thus the heart of the heart of our continent, in fact of the inhabited globe? Stop a moment where you are; we have just here a view which would be unique if there were not thousands and thousands like it in these lovely mountains. There is the valley, which we have just left! you can now follow easily the meandering course of the willow-fringed brook through the meadows. There is the village, a dirty place when seen near by, but now how beautiful it is, half veiled by its gay cloak of trees, and the blue columns of smoke, which rise straight up from the chimneys, and gradually dissolve on the sides of the mountains into blue, transparent clouds. And now these beautiful heights with their evergreens! how they rise one behind the other with their deep coloring. And now, here to our left, the glimpse of the blue mountains which we crossed this morning. And, above all, this marvellously fair sky, clear and deep and unfathomable, like the eye of some one we love. Oh, there is something divine in these outlines and these lights. They are surely intended to be more than a mere pleasure for the eye, or even a study for the painter: they are meant to comfort us and to admonish us. A glance at
The image depicts a serene, underwater scene with lily pads floating on a body of water. The lily pads are illuminated by a blue light, creating a magical and enchanting atmosphere.
The image depicts a serene, mystical scene of a narrow, misty river flowing through a lush, rocky canyon. The river, which is the main focus of the image, is a deep blue color, reflecting the surrounding mist and creating a shimmering effect.
I had myself called with the four o'clock watch, mornings, for one cannot see too many summer sunrises on the Mississippi. They are enchanting. First, there is the eloquence of silence; for a deep hush broods everywhere. Next, there is the haunting sense of loneliness, isolation, remoteness from the worry and bustle of the world. The dawn creeps in stealthily; the solid walls of black forest soften to gray, and vast stretches of the river open up and reveal themselves; the water is glass-smooth, gives off spectral little wreaths of white mist, there is not the faintest breath of wind, nor stir of leaf; the tranquillity is profound and infinitely satisfying. Then a bird pipes up, another follows, and soon the pipings develop into a jubilant riot of music. You see none of the birds; you simply move through an atmosphere of song which seems to sing itself. When the light has become a little stronger, you have one of the fairest and softest pictures imaginable. You have the intense green of the massed and crowded foliage near by; you see it paling shade by shade in front of you; upon the next projecting cape, a mile off or more, the tint has lightened to the tender young green of spring; the cape beyond that one has almost lost color, and the furthest one, miles away under the horizon, sleeps upon the water a mere dim vapor, and hardly separable from the sky above it and about it. And all this stretch of river is a mirror, and you have the shadowy reflections of the leafage and the curving shores and the
The image depicts a vibrant red flower with multiple petals, set against a backdrop of dark rocks and a serene river. The flower is positioned in the foreground, drawing the viewer's attention to its striking color and intricate details. The river, with its calm waters, provides a tranquil setting for the flower, enhancing the overall aesthetic of the image.
The image depicts a vibrant scene of a river flowing through a rocky landscape. The river, with its clear blue water, is surrounded by a variety of rocks and plants. The rocks are predominantly dark in color, with some exhibiting a reddish hue, possibly indicating the presence of a forest or a rocky terrain.
Between the Yellowstone National Park, on the one hand, and the Columbia river, on the other, Clark's Fork and the beautiful lake into which it widens out before turning northward to the British possessions, have been almost completely overshadowed. But their ten thousand beauties will assert themselves. They have not to be sought for in out-of-the-way places, nor are they so localized that a mere passing glimpse is the only reward of strained attention as the train flies onward. On the contrary, from an early hour in the morning until long past noon, there is a continuous unfolding of scenes in which are combined, with Nature's inimitable skill and infinite variety, all that is grandest in mountain, all that is most graceful in woodland and stream. So evenly distributed are the beauties of this long stretch of river scenery, that it is not easy to single out particular points as calling for special notice. There are, however, two that must arrest the attention and command the admiration of every traveler. The first, one mile east of Cabinet, where the river, which has been flowing for some distance considerably below the level of the railroad, enters a magnificent rocky gorge; and the other, about the same distance east of Clark's Fork, where it flows, without a ripple, through a forest of stately pines, whose forms are, with singular fidelity, reflected in its clear and tranquil waters. Soon it is lost to view, but only to reappear, after a short interval, in the form of the lovely
The image depicts a serene, autumn-themed river flowing through a lush, green forest. The river, with its clear blue waters, is surrounded by a variety of trees and bushes, their leaves a vibrant mix of yellow, orange, and green. The sky above is a clear blue, adding to the overall tranquility of the scene.
The image depicts a serene, autumn-themed landscape with a river flowing through a lush, green forest. The river, with its clear blue water, is surrounded by a variety of trees, including deciduous trees with vibrant yellow and orange leaves, and evergreen trees. The forest floor is carpeted with rocks and moss, adding to the natural beauty of the scene.
In summer the dingle is a golden-green vision of tender light that filters through the beeches. Here and there a sungleam, escaping the net of the leaf, wins down to fall on mossy boulder and bole, or plunge its shaft of brightness into a dark pool. Then the amber beam quivers through the crystal to paint each pebble at the bottom and reveal the dim, swift shades of the trout, that dart through it from darkness back to darkness again. In autumn the freshets come and the winds awaken until a storm of foliage hurtles through the glen, now pattering with shrill whispers from above and taking the water gently; now whirling in mad myriads, swirling and eddying, driven hither and thither by storm until they bank upon some hillock, find harbour among holes and the elbows of great roots, or plunge down into the turmoil of the stream. The ways of the falling leaf are manifold, and as the rock delays the river, so the trees, with trunk and bough, arrest the flying foliage, bar its hurrying volume and deflect its tide. In winter the glen is good, for then a man may escape the north wind here and, finding some snug holt among the river rocks, mark the beauty about him while snow begins to touch the tree-tops and the boughs are sighing. Then can be contrasted the purple masses of sodden leaves with the splendour of the mosses among which they lie; for now the minor vegetation gleams at this, its hour of prime. It sheets every bank in a silver-green fabric fretted with liquid jewels or ice diamonds; it builds plump knobs and
The image is a photograph of a frozen river in a forest at sunset. The river is frozen, reflecting the warm colors of the sunset sky. The trees in the background are silhouetted against the sky, creating a dramatic contrast.
The image captures a serene winter scene with a frozen river in the foreground, reflecting the warm hues of the setting sun. The sky above is a deep blue, dotted with fluffy white clouds, and the sun is setting, casting a golden glow over the landscape. The trees on either side of the river are silhouetted against the sky, their branches heavy with snow.
covered. There is no habitation for about six miles on either side of the pass, and it is only when information reaches a village that they send out to cover the remains of the true believer. The only village between the pass and the Kunar river is Ashreth. The people of this village pay tribute to Dir as well as Chitral, and this tribute is rendered in the form of escort to travellers ascending the pass. But the people themselves are Shias and recently converted Kafirs, and are known to be in league with the Kafir banditti, giving notice to the latter of the approach of travellers rather than rendering effective aid against them. Fortunately the ascent was easy and gradual. The descent is steeper, and in parts very trying. We had to cross and recross the frozen stream several times, owing to the sides of the hill rising almost perpendicularly from its base. To add to our difficulties, we had to pick our way over deep snow (even in May), not only over branches, but tolerably large sized trunks of trees that had been uprooted. I was told that during the winter months a regular hurricane blows up this valley, carrying everything before it. The Pass (Kotal) forms the northern boundary of Dir territory.
The image depicts a serene, natural landscape featuring a swiftly flowing river with rocks and moss-covered rocks in the foreground. The river is surrounded by lush greenery, including trees and bushes, and the sky is a clear blue with a few clouds. The overall scene exudes a sense of tranquility and natural beauty.
The image depicts a serene, natural landscape featuring a river flowing through a valley. The river, with its white, frothy waters, is surrounded by a variety of rocks and boulders, some of which are covered in moss. The riverbanks are lined with trees and shrubs, adding a touch of greenery to the scene.
Amongst the fairest of them all, the Maritimes should assuredly be reckoned, little visited though they be except by Italians. Their eastern and northern valleys, which alone are known to me, must be counted lovely, even judged by the high standard of loveliness that the Italian Alpine valleys set. Any one of them, transported to the midst of a Swiss group of mountains, would be the pearl of the district. What more enchanting resort can be imagined than the Baths of Valdieri, planted amidst umbrageous copses and beside laughing waters? Here all the elements of picturesque landscape group themselves together in the most perfect natural harmony. Nowhere in the opening season are the flowers more rich, the hillsides more verdant, the foliage of the trees more varied. Nowhere do woods climb slopes in more graceful procession. Nowhere are the rocks and lofty snow-peaks set in more fascinating frames of unexpected foreground. It is a valley of endless surprises and delights. Moreover, its waters are clear and glancing. They burst from the hillsides, tumble in crystalline brilliance over clifflets, dance through the meadows, and race-along beneath the shadow of beeches and chestnuts. No ogres, we may be sure, lurk in the fastnesses of these hills, but only the most delicate fairies, glittering with dew. And then the views from the peaks--how memorable they are, how unlike those of the Central Alps! For from these summits you behold always the sea, far stretching, and ever apparently calm. It looks indeed like any other
The painting depicts a serene, tranquil scene of a river flowing through a forest. The river, with its clear blue waters, is surrounded by lush, vibrant autumn foliage. The foliage, in shades of orange, yellow, and green, adds a warm and inviting atmosphere to the scene. The painting is done in a realistic style, with a focus on
The image is a digital painting of a serene, autumn-themed river scene. The river, which is the central focus of the image, is depicted in a flowing, light blue color, with a few ripples indicating the movement of water. The river is surrounded by a lush, vibrant forest, with trees displaying a mix of orange and yellow leaves, creating a warm and inviting atmosphere.
The sun was near its setting, and a still and tranquil light lay upon the river that was glassy smooth. Rowing close to the bank, the Highlander saw through the gold fretwork of the leaves above him far spaces of pale blue sky. All was quiet, windless, listlessly fair. A few birds were on the wing, and far toward the opposite shore an idle sail seemed scarce to hold its way. Presently the trees gave place to a grassy shore, rimmed by a fiery vine that strove to cool its leaves in the flood below. Behind it was a little rise of earth, a green hillock, fresh and vernal in the midst of the flame-colored autumn. In shape it was like those hills in his native land which the Highlander knew to be tenanted by the _daoine shi'_ the men of peace. There, in glittering chambers beneath the earth, they dwelt, a potent, eerie, gossamer folk, and thence, men and women, they issued at times to deal balefully with the mortal race.
The image depicts a dramatic landscape featuring a river flowing through a mountainous region under a dramatic sky. The river, with its turbulent waters, is the central focus of the image, surrounded by rugged cliffs and mountains. The sky is painted in hues of red and orange, creating a striking contrast with the blue of the river and the dark tones of the cliffs
The image depicts a breathtaking landscape at sunset, with a dramatic sky filled with vibrant hues of red, orange, and pink. The foreground is dominated by a river, its surface churned by the waves, which are a deep blue-green color. The river meanders through the landscape, with the rocky cliffs on either side adding a rugged texture to the scene.
Here within the compass of a mile, those inland seas of the North, Superior, Huron, Michigan, Erie, and the multitude of smaller lakes, all pour their floods, where they swirl in dreadful vortices, with resistless under-currents boiling beneath the surface of that mighty eddy. Abruptly from this scene of secret power, so different from the thunderous splendors of the cataract itself, rise lofty cliffs on every side, to a height of two hundred feet, clothed from the water's edge almost to their create with dark cedars. Noiselessly, so far as your senses perceive, the lakes steal out of the whirlpool, then, drunk and wild, with brawling rapids roar away to Ontario through the narrow channel of the river. Awful as the scene is, you stand so far above it that you do not know the half of its terribleness; for those waters that look so smooth are great ridges and rings, forced, by the impulse of the currents, twelve feet higher in the centre than at the margin. Nothing can live there, and with what is caught in its hold, the maelstrom plays for days, and whirls and tosses round and round in its toils, with a sad, maniacal patience. The guides tell ghastly stories, which even their telling does not wholly rob of ghastliness, about the bodies of drowned men carried into the whirlpool and made to enact upon its dizzy surges a travesty of life, apparently floating there at their pleasure, diving and frolicking amid the waves, or frantically struggling to escape from the death that has long since befallen them.
three white boats on a river with trees on the bank
The image captures a serene scene of a river in Paris, France. The river, a deep blue-green color, is flanked by two white boats on its surface. The boats are positioned on the right side of the river, with one boat slightly closer to the camera than the other.
The wide opening on the opposite side of the river suggested that perhaps the man had taken her on to Salhouse Broad. So we rowed on, disturbing a kingfisher, which was perched on a bullrush, and there was a picture. Wynne cried, "OH!" with delight, and, although I have seen the like so many times, the scene is always fresh in its beauty. On the placid bosom of the small lake the yacht lay motionless, while a pair of swans, with their brood of cygnets, swam near her. Outside the ever-present boundary of green reeds, was a darker circle of trees, and crowds of yellow lilies made a bright bit of colour in the foreground. On the further shore was a thatched boat-house, and behind it a wooded bank. The thud of the jolly against the yacht's side aroused a wild duck; a shoal of rudd broke the still surface, as they sprang from a pursuing pike, and the red-and-white cows, which had pushed through the reeds to drink, stood looking at us contemplatively.
The image depicts a serene forest scene with tall palm trees, lush greenery, and a winding river. The sky is overcast, casting a soft light over the landscape.
The image depicts a serene, misty forest scene with tall palm trees and a river running through the middle. The sky is overcast, casting a soft light over the scene. The river is surrounded by lush greenery, including moss-covered rocks and a variety of plants.
By the middle of July the biography was so well advanced that the two workers felt entitled to a vacation during midsummer. The completed chapters were locked securely in the safety deposit vault and, with a fervent hope that the house would not catch fire and burn up the unwritten part of the book during their absence, they started, July 15, for a little tour, going first to the home of Mr. and Mrs. James Sargent on "Summerland," one of the loveliest of the Thousand Islands. Here Miss Anthony tried very hard for a whole week to do nothing. Even letter-writing was laid aside and she sat on the veranda and watched the great steamers and the pleasure boats go up and down the broad St. Lawrence; took long naps in the hammock swayed by the soft breezes; wandered through the picturesque ravine and along the water's edge; at evening watched the sun set in gorgeous splendor, leaving a trail of glory on the waters which slowly faded as the stars came out in the beauty of the night and were reflected in the still depths. Every day, with host and hostess and the other guests in the house, she boarded the little launch and sailed up the river, winding in and out among those wonderful islands with their diversity of hotels, clubhouses, elegant mansions and pretty cottages; but all surpassed by the adornments of nature, tall trees with luxuriant vines climbing to the very tops, and the great rocks of the ages, rent and cleft and covered with mosses and ferns.
a circular glass artwork depicting a serene landscape with a river, trees, and a waterfall
The image showcases a detailed and intricate artwork of a landscape, featuring a serene river flowing through a rocky landscape. The river, with its vibrant blue-green color, is surrounded by a variety of trees and plants, including yellow and orange foliage, adding a touch of nature's palette to the scene.
Apart from the fascination exercised on the mind by the ever changing surface of water, varied and rippled by motion and by wind, the beauty of this river is mainly due to the delicate and varied foliage of the willows and other trees which grow freely beside it, the luxuriant growth of flowers along its banks--"of crow-flowers, nettles, daisies, and long purples"--and the variety of blossoming water plants. Few trees are more graceful than the willow when a slight breeze fans its branches, mingling the "hoar leaves" with the grey green of the upper side of the foliage; and many, before and since Shakespeare, have preserved in the "inward eye" such a vision, reflected in "the glassy stream" or more usually in the slightly ruffled surface below. The level meadows, or sloping banks, which skirt the stream have a quiet charm, and beautiful indeed are they in June, when thickly carpetted with buttercups and ox-eye daisies. At almost every turn rise the blue hills, completing the landscape and throwing the sunny meadows into relief.
The image is a panoramic view of a river flowing through a rural area. The river is surrounded by tall grass and trees, creating a serene and picturesque landscape.
The image captures a serene rural scene. Dominating the frame is a tranquil river, its surface reflecting the clear blue sky above. The river meanders through a lush, grassy landscape, with tall grass and reeds lining its banks.
Travelers who come to Pittsburgh, forgetting the smoke which often dims the blue splendor of its skies, are struck with the picturesque situation of the town, for they find rolling plateaus, wide rivers, and narrow valleys dropping down from high hills or precipitous bluffs throughout the whole district over which the city extends. Yet the surpassing beauty of nature is not more impressive to the thinking stranger than the work of man who has created and dominates a vast industrial system. The manufactories extend for miles along the banks of all three rivers. Red fires rise heavenward from gigantic forges where iron is being fused into wealth. The business section of the city is wedged in by the rivers, its streets are swarming with people, and there is a myriad of retail houses, wholesale houses, banks, tall office buildings, hotels, theaters, and railway terminals; but right where these stop the residence section begins like another city of happy homes--an immense garden of verdant trees and flowering lawns divided off by beautiful avenues, where some houses rise which in Europe would be called castles and palaces, with scarce a fence between to mark the land lines, giving an aspect almost of a park rather than of a city. There are many miles of asphalt streets set off with grass plots. On the rolling hills above the Monongahela River is Schenley Park (about four hundred and forty acres) with beautiful drives, winding bridle paths, and shady walks through narrow valleys and over small streams. Above the