George Ingle Finch

Summary

George Ingle Finch The making of a mountaineer (1924)

At about half-past five we reached the Solvay hut. To describe sunrise on the mountains is a task that must be left to the brush or pen of the artist. The ordinary mortal must be content to worship before a sight than which “earth has not anything to show more fair.” Every mountain-top was on fire, and I chafed at the thought that had we left earlier, or had I been quicker, we might now have been on the summit of the Matterhorn knowing what it was to be bathed in the clear, transparent, rosy glow that, deepening, crept all too swiftly downwards and disappeared.
Source: Gutenberg

George Ingle Finch The making of a mountaineer (1924)

In the event of the picture coming to life, ice work, we felt sure, would stand us in better stead than mere agility on rock, and it was, therefore, our endeavour to perfect ourselves as far as possible in the more serious side of mountaineering, that is, in the intricacies of snow and ice-craft. The north face of the Jungfrau presents itself to the eye as an imposing edifice built up of glistening, greenish-white terraces of ice and snow of such purity that it were almost desecration to set human foot upon them.
Source: Gutenberg

George Ingle Finch The making of a mountaineer (1924)

We mounted higher and higher—right out of ourselves, so to speak. There was none of the straining and panting that I had thought must mark my climbing attempts. Here and there, as we seemed to wind our way in and out amongst the rocky towers of the ridge, I was aware of the tingling depth of precipice or chasm, and once I made a false step and dipped my right foot over into nothingness.
Presently the last of our stock of candles had fallen out of the rickety lantern, and we went forward in the darkness, lighted by the occasional flash of an electric torch.
Source: Gutenberg

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