Arnold Lunn

Biographical details

Arnold Lunn The Alps

Technical knowledge does not always make for understanding. The first great revelation of the mountains has a power that is all its own. To the man who has yet to climb, every mountain is virgin, every snow-field a mystery, undefiled by traffic with man. The first vision passes, and the love that is based on understanding supplants it. The vision of unattainable snows translates itself into terms of memory—that white gleam that once belonged to dreamland into an ice-wall with which you have wrestled through the scorching hours of a July afternoon.
Source: Gutenberg

Arnold Lunn The Alps

Carrel was something more than a great guide. He remained a soldier long after he had laid down his sword. He was, above all, an Italian, determined to climb the Matterhorn by the great Italian ridge, to climb it for the honour of Italy, and for the honour of his native valley. The two great moments of his life were those in which he heard the shouts of victory at Colle di Santiarno, and the cries of triumph on the summit of the Italian ridge. Whymper, and later Tyndall, found him an awkward man to deal with. He had the rough, undisciplined nature of the mountain he loved.
Source: Gutenberg

Arnold Lunn The Alps

Contrast is the essence of Art, and Dürer was too great a man to miss the rugged appeal of untamed cliffs, because he could fathom so easily the gentler charm of German fields and Italian waters. You will find in these mountain woodcuts the whole essence of the lovable German romance, that peculiar note of “snugness” due to the contrast of frowning rock and some “gemütlich” Black Forest châlet. Hans Andersen, though a Dane, caught this note; and in Dürer’s work there is the same appealing romance that makes the “Ice Maiden” the most lovable of Alpine stories.
Source: Gutenberg

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